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flute for dinner ammendola benciolini candiotto casa degli innocenti di giorgio guglielmo la malfa nobile pavan sabbadin valerio bisi

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Description

flute for dinner ammendola benciolini candiotto casa degli innocenti di giorgio guglielmo la malfa nobile pavan sabbadin valerio bisiFLUTE FOR DINNER (CVLD248) Composer: ADRIANO LINCETTO; ARTHUR HONEGGER AND FRANCIS POULENC Performers: Gloria Ammendola, Tommaso Benciolini, Simone Candiotto, Giulia Casa, Ludovico Degli Innocenti, Marco Aurelio Di Giorgio, Elia Guglielmo, Veronica La Malfa, Roberta Nobile, Caterina Pavan, Alice Sabbadin, Niccol Valerio; Maria Bisi ( grandpiano ) Tracks Adriano Lincetto Quartetto per flauti in do (1977) 12: 16 01. Allegro deciso e molto marcato 02.

FLUTE FOR DINNER (CVLD248)

ComposerADRIANO LINCETTO; ARTHUR HONEGGER AND FRANCIS POULENC
PerformersGloria Ammendola, Tommaso Benciolini, Simone Candiotto, Giulia Casa, Ludovico Degli Innocenti, Marco Aurelio Di Giorgio, Elia Guglielmo, Veronica La Malfa, Roberta Nobile, Caterina Pavan, Alice Sabbadin, Niccolò Valerio; Maria Bisi ( grandpiano )

Tracks

   Adriano Lincetto
Quartetto per flauti in do (1977) 12:16
01. Allegro deciso e molto marcato
02. Andante cantabile e sognante
03. Vivacissimo
Sonatina per flauto e pianoforte (1978) 9:41
04. Allegro spigliato
05. Andante elegiaco
06. Allegro ironico e grottesco
07. Sequenza per flauto solo (1979) 3:03
Giochi d’infanzia per tre flauti in do (1979) 4:39
08. Allegro spiritoso
09. Adagio ma non troppo
10. Scorrevole
   Arthur Honegger (bonus track)
11. Dance de la Chèvre (1921) 3:27
Francis Poulenc (bonus tracks)
Sonata for flute and piano (1956) 11:44
12. Allegro Malinconico
13. Cantilena
14. Presto giocoso
Adriano Lincetto
15.Adagio e Allegro per orchestra di flauti (1982) 5:54


88.2 kHz / 24bit original recording made at Auditorium Pollini, Padova, Italy on December 11st, 12nd 2014


Production: Velut Luna
Musical producer and artistic direction: Daniele Ruggieri
Recording and mastering engineer: Marco Lincetto
Editing engineer: Matteo Costa
Cover and inside photos: Marco Lincetto
Design: L’Image
Marketing and Sales Manager: Patrizia Pagiaro

Note

Adriano Lincetto dedicated a significant part of his life to musical education and the promotion of young talents, in his role as a piano teacher, holding a professorship starting in 1966. This important training and didactic activity saw him as a protagonist at the "Cesare Pollini" Conservatory of Music in Padua for over 30 years: a conservatory that he also led with tenacity and stubbornness in the last 10 years of his life, before his premature death on April 24, 1996.

The flute is a very important and highly regarded instrument within the body of Adriano Lincetto's compositions. And a significant reason, perhaps the most important, leads us to refer to the primary inspirational source of the Paduan Master, which underlies all his compositions: his closeness to the performers.
It is well known, as the great Radu Lidijenko also highlights in his critical writings on the Master from Padua, that Lincetto undoubtedly wrote because he "could not not write": his was a primary need of his being an artist; but then, equally, writing for him also meant "giving" his music to his friends, or to his son Francesco, who, as it happens, was an excellent flutist. In this regard, it cannot be forgotten that a significant part of Adriano Lincetto's concert career as a pianist developed in the formation of the chamber duo with flute, with Enzo Caroli, in the 70s and 80s.
Therefore, most of the compositions on this album are written, conceived, and dedicated to these important... friends.

It is always difficult to talk about the compositional style of a distinctly independent author from the second half of the 20th century, free from the dictates of "schools" ("of the regime," allow me to add with a deliberate polemical spirit...). It is difficult because a sensitive and deeply cultured person cannot help but be influenced by the layers of a thousand and more years of previous musical literature. And this consciously, but certainly even more unconsciously.
It is therefore a daunting task for the "good critic" to try to identify and isolate these sources of inspiration. Lincetto was certainly enamored of the radical innovation brought to the world of music by two great revolutionaries such as Debussy and Stravinsky, whose manners and customs Lincetto sometimes quotes. But he was not insensitive either to the synthesizing ability of the great popular music of Eastern Europe achieved by authors like Bartok or Prokofiev.
Adriano Lincetto is certainly a child of the 20th century (although a fundamental composition for string orchestra from 1980, significantly titled "Suite per Paer," cannot be forgotten).
Delving further into detail, it is very interesting to note a strong need to communicate his vision of the notes written on the staff to the performer, even using words: the definitions of the individual movements and the agogic indications throughout the score are always illuminating and, I would say, striking. Taking the Sonata for flute and piano as a paradigmatic example, we can and must note the titles of the movements: Allegro spigliato, Andante elegiaco, Allegro ironico e grottesco. There is always an adjective to the classic definitions: very precise adjectives, which make the sensitive performer perceive the author's almost desperate need for his music to be fully understood. No less so are the agogic indications: "flowing, but marked" is written at the beginning of the third movement of the Sonata...

Here, the true great difficulty in translating Lincetto's compositions into sounds lies, even more than in the strict technical difficulty of correctly executing the notes, in being able to fully understand what the author, with so much imagination and stubbornness, tried to communicate with those notes, not disjoined from the words that further define them.

This communicative "anxiety," finally, distinctly separates the author from the frigid dryness of the great masters of the past, such as J.S. Bach, who, as is well known, left almost exclusively to the note written on the staff his entire artistic message (to the somewhat perverse delight of the many imaginative interpreters who over the centuries have engaged with the music of the great German author).
And also in this, Adriano Lincetto is not only a child of the 20th century, but also in some way a precursor of the twenty-first century, the century of great direct communication, the century of the internet and social networks.
I have always wondered how Adriano Lincetto would have experienced this new era and I have always answered myself that he would have had a lot of fun and perhaps would have found his most authentic natural "artistic habitat." Unfortunately, Adriano Lincetto prematurely passed away at the dawn of the new era, and all our curiosity is inexorably destined to remain unanswered.

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Nice wedge pillow but not enough...
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It came compacted and when I opened it expanded almost immediately, maybe took like 20 minutes to fully decompress. Its soft and comfortable and the cover is really nice. But it does have a strong chemical smell, which is normal for this kind of brand new memory foam, I just put it on a table with a window open near it and after maybe 24 hours the smell was almost completely gone. The problem is that I bought this to have a elevated position when sleeping but the 30° are just not enough for me. I wish it was at least 45° but I could not find any pillow with that amount of degree... it's either 30° or like 75° in the other position. At the base of the pillow there is a little ridge that is comfortable for the lower back but makes me slide down in the middle of the night so I end up almost laying flat with my neck on the base ridge. With my slim build my lumbar area gets some nice support but makes my head almost have a "fall backwards" sensation, I like having my neck have a "push-forward" position with my pillow, but when adding another pillow to try and get to a comfortable position it only makes me slide down even more... :/
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Sasstie Wedge Pillow
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